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As we proceeded up the Li and got closer to Yangshuo, we began to see more and more of these bamboo craft that took two people at a time down the river. If you look closely you can see that the craft are empty, they having disgorged their passengers and returning for more up river. In the far background, there is a white river cruiser. We were part of a "convoy" too. I took most of the shots looking astern in order to keep the craft out of the pictures as much as possible. Olympus OM1 using Agfavista 400 film.
STOP and Proceed with Caution. But that's for engines coming on shed. Locos going off shed have to get clearance from the signalman - in the invitingly lit box on the left - before passing the board.
We had been out on the afternoon turn with GWR Modified Hall 4-6-0 6990 Witherslack Hall and after coming back on shed had cleaned the fire, dropped the ashpan and emptied the smokebox ready for the evening crew to take over. They are now moving off the pit with some gusto on their way to hook up to their Winter Wonderlights train to Leicester.
Observing two blackfaced impalas in the thornveldt: first they were nuzzling one another, second this occurred, the senior impala seeming to offer his blessing to the younger impala, and next they proceeded to spar. This was as ritualized and complex as any martial arts ceremony I've ever seen. What a privilege to behold.
please proceed according to station procedures with information Delta, and switch to pad control frequency
After chasing the light to Future World from in front of Spaceship Earth for the shot I posted previously I then proceeded to the walkway entering the World Showcase to shoot across the lake and get a shot with the monorail in it. I wasn't sure if the timing would work out but the monorail actually arrived just as I was setup for the shot so it worked out really well.
I shot this scene using the Nikon 14-24 2.8 and the Pro Grey 7 stop ND filter. The ND filter gives me better control of the light and also allows me to shoot a little bit longer exposure. This is useful shooting into the sun as it helps smooth the water out a bit. For the monorail I took the ND off and shot at 1/250 to freeze the motion and pushed the ISO a bit to 320. I also prefocused where the monorail would be and then set the focus to manual so I would be certain to capture it just as I wanted. Then of course I blended it all together in post. You may wonder why I was concerned about timing if I just combined multiple shots. Well the main reason is because to make a realistic blend you want the light to be as similar as possible. At this time of day the light was quickly changing it wouldn't have looked right if the monorail didn't have the gorgeous gold light reflecting along its edge. Enjoy.
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The group of 5 diesels on their way to Kidderminster and the Severn Valley Railway.
Seen leaving Worcestershire Parkway,
A CSL transfer is heading west on the former Rock Island South Chicago Branch after getting flagged to proceed in March of 1983. This was a non-interlocked junction and all trains were required to stop before proceeding on hand signal from the operator, including passenger trains prior to Amtrak. All switches were hand thrown by the operator.
This train was destined for Conrail's Colehour Yard on the former PRR Fort Wayne line. After clearing the switches and getting another signal from the operator, the train shoved east using what was referred to as the "up the wall" track to the ex-PRR line, seen in the background passing over the train.
The operator was a BRC employee. The man seen here was the regular day man. His name was Jackson and he was always friendly and accommodating to me. I remember him fondly.
I grew up a mile west of RI Jct. I would ride my bike here and climb the stairs from the Commercial Ave viaduct to the B&O passenger station and watch the trains from the platform, about a hundred yards to the west. The scene from the platform was especially dramatic at night. All the switches had lamps and the operator would signal the trains with a lantern.
surprisingly the dismantling of the tug proceed is still in progress at the northwich boatyard on the river weaver
on the bank is another tug , the manchester ship canal boat appleton
Proceed prepared to stop at next signal. Slow Speed applies until entire train clears all interlocking, controlled point or spring switches, then Medium Speed applies.
Taken along ex-PRR Fort Wayne main line at Crestline, Ohio.
When the church was opened to the public the dome had not yet been built for the slowness with which the factory proceeded. The patron of the church, Cardinal Ludovisi, was already dead, and the funding had stopped. The Jesuit painter and architect, friar Andrea Pozzo, intervened with a stroke of genius, who in 1685 created the fake dome with a painting executed on a 17-meter-diameter canvas; to fully observe the perfect perspective game you have to bring yourself to the precise point marked in the floor by a marble disk, which is the exact definition of the focal point, because the canvas placed at 34 meters high reveals the exact proportion to the observer of the dome according to the radius of the visual diagonal. Not knowing this characteristic of the dome, no one can imagine that in fact it is only painted and that therefore, in place of the upper part of the dome, there is simply a large canvas. But already in the middle of the 18th century it was no longer visible due to carbon black deposits due to the burning of candles, and in 1891 the enormous canvas was torn by the explosion of the Monteverde powder keg and in the 1960s it was necessary to carry out a restoration that brought the canvas with the original splendor.
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Quando la chiesa fu aperta al pubblico la cupola non era ancora stata costruita per la lentezza con cui la fabbrica procedeva. Il mecenate della chiesa il cardinal Ludovisi era già morto, e i finanziamenti si erano interrotti. Intervenne allora con un colpo d'ingegno il pittore e architetto gesuita, frate Andrea Pozzo che realizzò nel 1685 la finta cupola con un dipinto eseguito su una tela di 17 metri di diametro; per osservare in pieno il perfetto gioco prospettico bisogna portarsi sul punto preciso segnato nel pavimento da un disco di marmo, che è l'esatta definizione del punto focale, perché la tela posta a 34 metri d'altezza riveli all'osservatore l'esatta proporzione della cupola secondo il raggio della diagonale visiva. Non conoscendo questa caratteristica della cupola, nessuno, potrà immaginare che in effetti essa è soltanto dipinta e che quindi, in luogo dell'alto vano della calotta, si trova semplicemente una grande tela. Ma già alla metà del `700 non era più visibile a causa dei depositi di nerofumo dovuti alla combustione di candele, e nel 1891 l’enorme tela fu squarciata dall’esplosione della polveriera di Monteverde e negli anni Sessanta fu necessario effettuare un restauro che riportò la tela allo splendore originale.
For Fence Friday.
This is part of a bridge that is made from old railway sleepers. The bridge itself is quite safe but this part has rotted, a few years ago it had a sort of barrier (string and tape) around it, along with a notice saying it was unsafe and would be closed for repair. That is long gone and still no sign of a repair. I used to regularly walk across this bridge with my dog, Chester, not so much now as he can't walk too far anymore. On a good day we still manage it but have to be very careful crossing the bridge as Chester is blind (and now quite deaf too) and could easily fall off the edge and into the water. Photo of my handsome boy, in comments, taken just over a year ago when he was a lot fitter. He is laying/posing just in front of the bridge. HFF
The train will proceed to Pelican Point from here, wait for 1152 to finish unloading, do the same, take the empty hoppers back to Dry Creek North yard and detach, then finally proceed to the Motive Power Centre for general provisioning, and to prepare for the next job.
How about one from the archives over a dozen years old and a sight probably never to be seen again. This was the one and only time I shot a real freight train on this bridge (not counting no revenue work trains) and it was a sight to be hold on a cloudy but colorful fall day. This is the caption I wrote long ago in those hopeful days when this was shared on RP.net when I posted there.
Three SD70MACs lead train 181S with 70 loaded 100 ton hopper cars at the posted speed of 10 MPH but as soon as they cross the bridge they'll be throttling up to dig into the 1.3% grade up to Hurricane Section. Export coal is a growing business for the ARR with each of the past five years seeing record volumes from 600 thousand metric tons moved in 2007 to 1.2 million by the end of 2011 and 1.3 million planned for 2012. Next year the ARR will have two dedicated coal train sets in service each making the 700+ mile round trip two times per week.
Located at MP 284.2, this bridge spans 918 ft and rises 296 ft above the floor below. It is the signature location the on the entire ARR mainline and was the most expensive and difficult engineering project on the entirety of the line. The American Bridge Company started construction in early 1921, erected steel in June and finished in August. To construct the bridge, they strung an aerial tram across the gulch and construction proceeded from both sides. The first passenger train crossed Hurricane Gulch Bridge on August 15, 1921 culminating the $1,200,000 project. For some stunning historic photos of its construction click: vilda.alaska.edu/digital/search/searchterm/Hurricane%20Gu...(Alaska)/field/all/mode/exact/conn/and/cosuppress/
if interested.
While easily the most spectacular point on the mainline between Anchorage and Fairbanks it is rarely photographed except from the train itself. This is because it is virtually inaccessible. I've lived in Alaska more than four years and have longed to figure out how to make this happen. Back in July I went through quite the ordeal and finally figured it out, so armed with this information I just had to go back when the fall colors were out.
On Saturday's during passenger season it is possible to shoot four passenger trains in the span of four hours. While on this day I missed the first train, I did shoot three others (the southbound Denali Star, the northbound DEX and the Hurricane Turn) and then was rewarded with this late running coal train after that fleet had passed.
Making the journey to Hurricane is not for the faint of heart though, since it is a nearly 200 mile and 3+ hr drive from Anchorage, then requires a mile long hike without a trail through the willows and alders in bear country. Armed with my past knowledge, my camera, rain gear, some snacks, a radio, waterproof boots, a machete and a shotgun (yes in case you ask I did shoot down a couple more trees!) everything worked out successfully. Railfanning in the Last Fronteir, like every other outdoor pursuirt is truly an adventure!
Hurricane, Alaska
Saturday September 10, 2011
Sierra 6, the dock is secured. Proceed with the operation on the Parliment building.
Roger Sierra 2, civilians escorted and Raptors begining encirclement on building.
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In a flash of smoke and what appeared to be lightning assualt by the 5th Raptor Platoon, the parliment building that once stood near Trinity Corp, collapsed today. It was revealed during a broadcasted speech and release of federal paperwork that the Parliment members were abusing funding directed torwards the people. Immediantly after the destruction, Bragger instigated a total Monarchy afterwards and declared that our glourious nation is to be renamed the New Royalist Kingdom of the Savoy to mark the once great and powerful nation that we will rise to be again.
"My friends, this is only the begining of what is to become of our once peaceful nation." ~ King Arnold Bragger the first.
Proceed with caution as golfers, at the tee, can't see you!! Their golf ball should reach the fairway but sometimes things go wrong!!
Flickr Lounge ~ Weekend Theme (Week 29) ~ Signs, Plaques, Framed Words ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
A signalman cautions "Galu Kumari"express train to proceed cautiously due to repairs to the track near Lunawa Station on Coastal Line of Sri Lanka
I think I stopped here as much to check out the road conditions ahead as much as to take in the scene for a photo. Since I had driven this section in abundant sunshine only two days prior, I knew the road didn't drop off into eternity... I just had to stay on it!
Going-to-the-Sun Road, Glacier National Park, Montana.
"Each Event is proceeded by Prophecy, but without the Hero, there is no Event." - Zurin Arctus, the Underking
I am the Prophecied One, who has written the Prophecy with my actions.
I am the Nameless Will, the great Maybe.
My enemies can never win because I stand outside the bounds of reality, no matter how many times I die, I will always return until I win.
I am the only one who can be anything & who can do anything
A single person, seemingly insignificant, but I hold the fate of the land - the fate of the world in my hands, to save it, to damn it, to ignore it.
I have killed Living Gods & seen Towers fall.
I can be your salvation or I can be your doom.
I am the Prisoner,
the Eternal Champion,
The Agent,
The Incarnate,
The Champion of Cyrodiil,
The Dragonborn,
The Vestige,
I am Anuvanna'si - the gods' gift to the world
Prisoner, Hero & Godhead with 1000 faces.
Inspired by a video I saw on Youtube & article I read about the metaphysical
significance & impact the Prisoner i.e. the player character has on the world of Nirn
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upload.wikimedia.org/wikipedia/en/2/2b/Pasolini_Gospel_Po...
The Gospel According to Pasolini
The Gospel According to Pasolini
THE GOSPEL ACCORDING TO ST MATTHEW(Il Vangelo Secondo Matteo)
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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Before talking about the procession of the Holy Crucifix of Aracoeli which is held in the town of San Marco d'Alunzio (in the province of Messina), I make a brief introduction, this "photographic story" was created with photographs taken both during the procession of this year 2024, and during the procession of last year 2023, this meant, in some cases, that in some key moments of the procession the shots were taken simultaneously from two different angles, as if I had been in "bilocation", this because this year I chose a different perspective than last year. The procession begins on the morning of the last Friday of March each year, however there is an exception to this rule, when it coincides with Good Friday, which happened this year, then the procession is brought forward to the previous Friday. That of the SS. Crucifix of Aracoeli is an ancient penitential rite, on the day of the feast of the Crucifix in San Marco d'Alunzio the Holy Mass is celebrated in the Church of Aracoeli, therefore the SS. Crucifix (which is found in the church at the end of the right nave, at its feet the picture of the Virgin of Sorrows pierced by seven swords) is removed from the hook on which it is hanging, is taken outside the church, then raised and fixed on the float , and so (after the sermon of the priest who climbed onto the float next to the Crucifix) the Crucifix with the picture of his Sorrowful Mother underneath, then both placed on the float, are carried in procession by the Babbaluti, who proceed invoking the pity and mercy of the Lord with a faint lament that continually repeats “Signuri, Misericordia, Pietà!”. San Marco d'Alunzio is a pleasant town in the Messina area, located in the Nebrodi mountains, in Sicily; the procession takes place in honor of the Holy Crucifix of Araceli, this is a religious-penitential occasion also known as the "procession of the babbaluti", they are those who, by vote or by grace received, have decided to carry during the procession on their shoulders the float with the Crucifix and the painting; they head to the nearby Church of Santa Maria dei Poveri or to some private home nearby where, sheltered from the curiosity of the faithful, they wear a simple but characteristic indigo-coloured cloth habit, consisting of a tunic and a conical-shaped hood such to cover the entire body and leave only the eyes and hands free, it is not uncommon, however, that among the penitents, made anonymous by the habit they wear, there are also women, who, to avoid any possibility of recognition, wear a pair of gloves; the babbaluti are 33 in number to commemorate the 33 years of Christ, the number is odd, in fact the 33rd babbaluto does not wear the float, he (should be the "chief of float") proceeds backwards, turning his gaze to Christ and to His Mother, and at the same time checks that everything is in order among the babbaluti (this is a way of proceeding in carrying the float, which is present in various Sicilian religious processions). Then, the 32 (+1) "babbaluti" carry on their shoulders the launch bearing the Holy Crucifix of the Araceli church (the statue of Christ was created by Scipione Li Volsi, in the year 1652, he was a sculptor and plasterer of the Sicilian Baroque), at whose feet, on the float, the painting of Our Lady of Sorrows is tied, which appears pierced by seven swords (an 18th century painting). Before the start of the procession, the babbaluti advance barefoot wearing only heavy handmade raw wool socks. Before entering the church they must walk a purification path: when they arrive near the ancient church of Araceli , they bend down and kiss the ground, thus receiving permission to enter the church, but this happens from a side door, called "false door" (in Sicilian dialect “porta fausa”), once they enter the church laterally, they now emerge from the main entrance, thus being able to take their places, kneeling at the front and behind, of the float; the priest's long-awaited speech will follow, once finished, the procession can begin which takes place through the streets of the picturesque and welcoming town of San Marco d'Alunzio. Along the route the Babbaluti pace their pace accompanied by the sad and plaintive jugulation that invokes the Lord. There are devout men and women who proceed together with the mugglers, walking alongside the float, touching it, now caressing it... just to have physical (and consequently spiritual) contact with it. Finally, after having completed a specific route, the procession returns to the ancient church (of Norman origins) of Aracoeli. Whenever I am present at this touching occasion I am completely flooded with emotions (which however I cannot abandon myself to, I would lose concentration in taking the photos), the highlight is when the Crucified Christ is removed from the hook fixed on the wall by expert men, and then be carried (seems to float) above the heads of the devotees, supported with their hands, right outside the church, and be hoisted and fixed on the float; in these moments of intense emotion it is common to see in the eyes of the devotees, shining with tears, that profound emotion of their relationship with this Christ, which has always lasted: it is as if they found themselves in the presence of the true Christ, in flesh and blood, this it is the atmosphere you experience in those moments, this is the magic of the procession of the SS. Crucifix and his Mother, represented by the painting of Our Lady of Sorrows pierced by seven swords (iconography of Spanish origin).
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Prima di parlare della processione del Santissimo Crocifisso di Aracoeli che si tiene nel paese di San Marco d’Alunzio (in provincia di Messina), faccio una breve premessa, questo “racconto fotografico” è stato realizzato con fotografie scattate sia durante la processione di quest’anno 2024, sia durante la processione dello scorso anno 2023, questo ha comportato, in alcuni casi, che in alcuni momenti salienti della processione gli scatti siano stati realizzati contemporaneamente da due angolazioni diverse, come se io fossi stato in “bilocazione”, questo perché quest’anno ho scelto una prospettiva differente da quella dello scorso anno. La processione inizia la mattina dell’ultimo venerdì del mese di marzo di ogni anno, c’è però una eccezione a questa regola, quando avviene la coincidenza col Venerdì Santo, cosa accaduta quest’anno, allora la processione viene anticipata al venerdì precedente. Quella del SS.Crocifisso di Aracoeli è un antico rito penitenziale, il giorno della festa del Crocifisso a San Marco d'Alunzio viene celebrata la S. Messa nella Chiesa dell'Aracoeli, quindi il SS. Crocifisso (che si trova nella chiesa in fondo alla navata di destra, ai suoi piedi il quadro della Vergine Addolorata. trafitta da sette spade) viene tolto dal gancio sul quale è appeso, viene portato all’esterno della chiesa, quindi innalzato e fissato sulla vara, e così (dopo il sermone del sacerdote salito sulla vara accanto al Crocifisso) il Crocifisso con sotto il quadro di sua Madre Addolorata, quindi messi entrambi sulla vara, vengono portati in processione dai Babbaluti, che procedono invocando la pietà e la misericordia del Signore con un flebile lamento che ripete continuamente “Signuri, Misericordia, Pietà!”. San Marco d’Alunzio è un ameno paese del territorio Messinese, sito sui monti Nebrodi, in Sicilia; la processione si svolge proprio in onore del Santissimo Crocifisso di Araceli, è questa una ricorrenza religioso-penitenziale conosciuta anche come "processione dei babbaluti", essi sono coloro che per voto o per grazia ricevuta, hanno deciso di portare in processione sulle loro spalle il fercolo con il Crocifisso ed il quadro; essi si dirigono nella vicina Chiesa di Santa Maria dei Poveri o in qualche abitazione privata lì vicino dove, al riparo dalla curiosità dei fedeli, indossano un semplice ma caratteristico saio di tela di colore indaco, costituito da una tunica e un cappuccio di forma conica tale da coprire l'intero corpo e lasciare liberi solo gli occhi e le mani, non è raro purtuttavia che tra i penitenti, resi anonimi dal saio che indossano, vi siano anche delle donne, le quali per evitare qualsiasi possibilità di riconoscimento, indossano un paio di guanti; i babbaluti sono in numero di 33 per rievocare i 33 anni di Cristo, il numero è dispari, infatti il 33° babbaluto non porta la vara, egli (dovrebbe essere il “capo vara”) procede all’indietro, rivolgendo lo sguardo al Cristo ed a sua Madre, e nel contempo controlla che tutto sia in ordine tra i babbaluti (questo è un modo di procedere nel portare la vara o fercolo, che è presente in diverse processioni religiose siciliane). Quindi, i 32 (+1) "babbaluti" portano sulle loro spalle la vara che reca il Santo Crocifisso della chiesa dell’Araceli (la statua del Cristo è stata creata da Scipione Li Volsi, nell'anno 1652, egli fu uno scultore e stuccatore del barocco SIciliano), ai cui piedi, sulla vara, viene legato il quadro della Madonna Addolorata, che appare trafitta da sette spade ( un dipinto del XVIII secolo). I babbaluti prima dell'inizio della processione avanzano a piedi scalzi indossando solo delle pesanti calze di lana grezza realizzate a mano, devono percorrere, prima di entrare in chiesa, un cammino di purificazione: quando essi giungono in prossimità dell'antica chiesa dell'Araceli, essi si chinano e baciano in terra, ricevendo in tal modo il permesso per poter accedere dentro la chiesa, questo però avviene da una porta laterale, chiamata "falsa porta" (In dialetto siciliano “porta fausa”), una volta entrati in chiesa lateralmente, ora fuoriescono dall'ingresso principale, potendo così prendere posto, inginocchiandosi sul davanti ed alle spalle, della vara; seguirà l'atteso discorso del sacerdote, terminato, potrà iniziare la processione che si svolge per le vie del pittoresco ed accogliente paese di San Marco d'Alunzio. Lungo il percorso i Babbaluti cadenzano la propria andatura accompagnandosi alla mesta e lamentosa giugulatoria che invoca il Signore . Ci sono uomini e donne devoti che procedono assieme ai babbaluti camminando a lato della vara, toccandola, ora accarezzandola...pur di avere un contatto fisico (e di rimando spirituale) con essa. Infine, dopo aver compiuto un preciso percorso, la processione fa rientro nell'antica chiesa (di origini Normanne) dell'Aracoeli. Ogniqualvolta sono presente a questa toccante ricorrenza sono completamente inondato da emozioni (alle quali però non posso abbandonarmi, perderei la concentrazione nel realizzare le foto), il momento clou è quando il Cristo Crocifisso viene tolto dal gancio fissato sul muro da uomini esperti, per poi essere portato (sembra galleggiare) sopra la testa dei devoti, sostenuto con le mani, fin fuori la chiesa, ed essere issato e fissato sulla vara; in questi momenti di intensa emozione è comune vedere negli occhi dei devoti, lucidi di lacrime, quella emozione profonda del loro rapporto con questo Cristo, che dura da sempre: è come se si trovassero al cospetto del Cristo vero, in carne ed ossa, questa è l’atmosfera che si vive in quei momenti, questa è la magia della processione del SS. Crocifisso e di Sua Madre, rappresentata dal quadro dell’Addolorata trafitta da sette spade (iconografia di origine spagnola).
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Settimana Santa a San Marco d'Alunzio, la particolare festa del Crocifisso e dei Babbaluti
San Marco d'Alunzio: tradizione e devozione nella Festa del Crocifisso
Festa del Crocifisso 22 Marzo 2024 - Ennio Priola
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Il Vangelo secondo Matteo (discorso della montagna) - Pier Paolo Pasolini
The Gospel According to Matthew (1964) - trailer
The Gospel According to St Matthew (1964) - Pasolini
The Gospel According to St. Matthew 1965
"La Fuga in Egitto" secondo Pasolini
Il Vangelo secondo Matteo - Film Completo Full Movie by Film&Clips
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I head the sound of roller skates coming across the street, and barely managed to turn and raise my little camera up high enough to get a picture as this young woman zoomed by, and proceeded up the street ...
Note: I chose this as my "photo of the day" for Nov 4, 2015.
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As I’ve mentioned in a couple of recent Tumblr blog postings, I’m working on an exercise for a new class that I’ve started taking at the International Center of Photography (ICP) in the fall of 2015.( You can see the earlier Tumblr postings here and here.)
In addition to taking a bunch of photos (see the other Tumblr postings for details and descriptions of what the photos are supposed to illustrate), we also have the task of editing our images down to a maximum of 10 “presentation images” that we will share with the ICP class next week. When our instructor, Joanne Dugan, asked me last week if I anticipated having any problems with this aspect of the assignment, I shrugged and said, “No, I do this all the time …”
Well, yes and no: I do do a lot of editing/winnowing of my photos before deciding which ones should be shared with anyone else. But I had forgotten that I also do a lot of cropping, color-adjustment, tweaking, and general post-processing before I upload my photos to Flickr, Facebook, or even Instagram. For this particular ICP exercise, we were also told not to crop the photos, and not to do any post-processing. That makes things a lot more difficult …
On the other hand, part of the exercise is to assemble and share a maximum of ten photos that collectively tell a “story” of some kind – and to “tell” that story with anywhere from a word, to a sentence, to a paragraph for each of the photos. That makes things a lot easier … after all, if a photo has to be presented in isolation, then it truly stands alone. And it is intended to be viewed without any accompanying text, then it really stands alone. There’s nothing wrong with that; indeed, one might argue that that’s the whole point of photography: a picture should “tell” a story all by itself, without any extraneous verbiage to “explain” what might not be obvious to the viewer.
But not very many things exist in complete isolation of the rest of the universe, especially in today’s interconnected world. I suppose some people would debate that point quite vigorously; and some people might argue that a photograph of a person, place, or thing should be able to “stand alone” without anything else. I certainly have seen photos that fall into this category, and I suppose I’ve taken a few like that, too. Or, maybe if I never intended my photos to be considered in complete isolation from one another, perhaps that’s how some people prefer to look at them …
But for me, that’s a pretty rare phenomenon. Almost always, I find myself telling a story. The photographs obviously present one “dimension” of the story, in a visual form; and I’ve been trying to remind myself lately that videos can present can present one, and sometimes two, additional dimensions (motion and sound) that can add enormously to the viewer’s understanding and appreciation of the underlying story.
But even if one uses only traditional photos, I find that it’s almost impossible for me to crate (or make, or take) one photo by itself; invariably, I take dozens, if not hundreds or even thousands, which collectively tell a story. It may be a story about someplace I’ve been, or some event in which I’ve participated, or some individual (or group of individuals) that I want the viewer to know and appreciate in more detail than would be possible to communicate in a single photo.
And then there are the words … maybe it’s because I spend part of my time as a writer and teacher that I find it almost impossible not to augment my photos with words. Lots of words. Indeed, sometimes far too many words; and sometimes clumsy words, or the wrong words. And I do realize that there are times when the situation would be improved if I would just shut up, and let the photograph do all of the communication. But for better or worse, I guess I’m a photojournalist.
With that in mind, I began the process of editing the photos for my recent ICP assignment. Here’s what I found:
1. It’s not as easy as one might think, when you start with a large number. I began winnowing the original images when I had 2,700 (after 9 days of shooting), and I still had 5 days of shooting left).
2. It’s much more difficult than I had imagined, given the constraints of my ICP class: no cropping, no post-processing, and a maximum of only 10 images. I’ve worked within those constraints for the final images that I’m submitting to the ICP class; but for these Flickr uploads, I’ve ended up with 40-45 images – and they have been heavily cropped, tilted, color-corrected, noise-dusted, and tweaked in various other ways. C’est la vie…
3. Using the collection of photos to “tell a story” is both easier and harder than I thought it would be. I’m including these background notes in all of the photos that get uploaded to Flickr … because I’ve learned (form past experience) that some visitor will zoom in on just one particular photo, without necessarily looking at all of them, and/or without seeing the overall notes for the entire album. And I don’t think I’ll find it difficult to write a few sentences to provide the background details for each photo … but whether they “flow” and create one overall, coherent “story” remains to be seen.
4. Aside from a narrative “story,” there are some “themes” that I noticed throughout this entire two-week exercise. The most significant one was exactly what I had anticipated: patterns. If you are lucky enough to sit in the same spot at the same time, day after day, you see the same rhythms, the same people, the same repetitions of life’s little actions and emotions. Many people have the opportunity to see these patterns, because they do follow the same schedule, day after day, on their way to their job or their school. But some of us have irregular routines, and any, most of us don’t pay any attention. If you slow down, and pay attention, you’ll see the patterns.
But sometimes the pattern involves uniqueness – i.e. strange and unusual people or events that seem to happen only once. But I have to keep reminding myself that my visits have lasted only two weeks; if I was here for a month, or a full season, or perhaps an entire year – then perhaps I would see these strange incidents repeating themselves
5. Another theme – which I did not anticipate, but was delighted to see – was the pervasive sense of affection and caring between and among everyone on the street. Mostly it was apparent in the interactions between parents and children; but sometimes it was between dog-owners and the dogs they were walking; sometimes it was between friends who happened to be walking along together; and sometimes it was between complete strangers and me, as the strangers would smile and nod and say “hello” if they noticed I was watching them. It was a great experience.
Whensoever we would proceed beyond [the] simple ideas we have from sensation and reflection, and dive farther into the nature of things, we fall presently into darkness and obscurity, perplexedness and difficulties; and can discover nothing farther but our own blindness and ignorance.
Words by John Locke
The Muse, better known as Catherine Hessling, inspired two Renoir's, however ended her days in obscurity and poverty. How very sad.
for Flickriver - Sophie Shapiro
.
The sun is high as Walker railcar 32RM passes the home stick at Musk with a Bullarto bound service. 22/12/24
Construction of Saint John's Cathedral began in 1901 and has proceeded in several major stages to the present.
When the Diocese of Brisbane was created in 1859, Saint John's Church in William Street became the Pro-Cathedral. Preliminary plans for a cathedral were made by the first Bishop of Brisbane, Edward Tufnell, in the 1860s, but never came to fruition. In 1885 William Webber was consecrated the third Bishop of Brisbane, and throughout his episcopacy devoted considerable time and energy to the cathedral project. Webber chose the Jubilee of Queen Victoria in 1887 to launch a scheme to raise subscriptions towards the building of the cathedral. He made five trips to England to raise funds for the construction of Saint John's Cathedral.
Webber engaged noted English architect John Pearson to design the Cathedral. Pearson was widely recognised for his expertise in Gothic Revival architecture and was responsible for the design of Truro Cathedral. Pearson's design was in the spirit of thirteenth and fourteenth century English Gothic with many characteristics of French Gothic.
The estimated cost of the first stage, including the sanctuary, side chapels, transepts, and one bay was £33,000. Despite considerable fundraising efforts, by 1898 £22,875 was still required to build the first section. In 1899, as a result of several factors, the Church decided to build the Cathedral on an elevated site in Ann Street. The Pro-Cathedral land was purchased by the government in the same year for £33,000 and this provided the funds to purchase the new site.
Pearson died in 1897, leaving his son Frank to continue the design work and Robin S Dods, was appointed supervising architect. The foundation stone was laid by HRH, George, Duke of Cornwall and York (later King George V) on the 22nd of May 1901. The contract for the first stage was awarded to Peter Rodgers from Ballarat in April 1906. Work commenced immediately and was completed in 1910. The remains of Webber, who had died in 1903 before his dream was fulfilled, were re-interred under the High Altar. The pulpit and cross were designed by Frank Pearson and crafted in England. The first three canon stalls were carved in England from Indian teak. Additional stalls, carved by Colin Blumson in Queensland maple, were added in the 1950s and 1960s.
Work commenced on the second stage in 1957, when foundations of two bays of the nave and side aisles were laid under the supervision of architects Conrad & Gargett. This work cost £9639. The stonework for this section did not commence immediately. In 1965 a contract was let and the work completed in 1968. On the 22nd of November 1968, the extensions were consecrated by Archbishop Strong. The foundations for the final bay and west towers were constructed during these extensions.
A set of eight bells have recently been hung in the north-west tower. These bells were cast in 1876 by Messrs John Warner and Sons, London, and were initially housed in a timber belfry in the grounds of the Pro-Cathedral. They were then re-located in a timber belfry (designed by Robin Dods) in the cathedral grounds before being placed in their present position.
Further work began in June 1989 and involves the extension of the nave, and the construction of two western towers, central tower and porches. This retains the external form of the original design of the reinforced structure.
Source: Queensland Heritage Register.
Just as the laws of physics would espouse the triangles in the sky in the first photograph proceed through the sequence of pictures, each at Eight Seconds of open Shutter time, as a diminishing light trail that is visible approaching the horizon taking seemingly longer to recede from sight. The fixed observer through the camera pictures sees the triangles in one image and then their condensed light trail is seen again and again racing to the horizon. The curvature of path of the satellite and the curvature of the atmosphere of planet Earth combine to make the trajectory through the camera pictures appear to differ and to slow as it takes just the right amount of time to arc on and on returning and repeating the orbital trace of a near Earth bright object.
The triangle lights are being seen in many peoples photographs in 2023 to 2024. There are links to the triangular lights all over the web. With a host of Aurora Borealis hunters looking at the huge current surge in Aurora within the night sky the Triangles have been much seen and widely reported on all around The World. I see some reports that these lights are SpaceX Starlink satellites.
These pictures taken with Minolta16mm f2.8 Fisheye lens, Lightroom and other recognition software believes that it is SAL16F28 a Sony 16mm f2.8 Fisheye lens. There are no lens profile adjustments made to the images. Just as I do not make adjustments to the images to be treated as taken by a Sony Lens I do not try to find out how to undo any incorrect attribution. The two lenses could be very similar even near identical, all I know is that this wonder is from Minolta. This description is way too long, is it oft stated if I had more time then I would send better in fewer words?
© PHH Sykes 2024
phhsykes@gmail.com
Starlink satellites, the string of lights in the night sky.
youtu.be/GhLXCJ1Gyyc?si=qbiHOTm7PJ5FCeCq
Elon Musk’s Starlink satellites light up night sky
www.bbc.co.uk/news/articles/crg1xn3pd4ro
Passage of Starlink Satellites Aug 28, 2023
WARNING! THIS ISSUE IS VERY LONG(And Awesome..:P)
IF YOU DECIDE TO MISS THIS ISSUE, YOU’RE MISSING OUT
PROCEED AT YOUR OWN RISK.
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Abandoned Warehouse, San Francisco - 2:15.
------------------------------------
I Had 10 more hours to save the city
Luckily, i had the help of The Red Racer. But she goes by the name Flash
As i waited for The Flash to arrive at the location we were supposed to meet
i thought about what these people wanted
Who was behind all of this? Was it my brother? Was it someone else?
All i knew is that i had to stop whoever was behind all of this.
“Did She give you a specific time when she would be here?” i ask
“Nope, to be honest, she didn't even reply to my message..” John replies through the comlink
“You Kidding?” I comment
“I Know, Should’ve just given me the job..” Wally comments
“Shut up..” John says
“John, got any luck on where the bombs are planted?” I asked through my comlink
“No luck at all, me and Wally are working on it now.”
“I’m informing the F.B.I of the news right now.” John Replies.
“I’ll inform the local police.” Wally commented
As John and Wally work on finding the Bomb
A streak of red lightning runs straight in front of me.
It was the Flash.
“I’m guessing you got our message?” I Ask
“Yeah uh, Yeah. Sorry i was late, i was busy with..stuff” She says
“It’s fine. I’m Aquaman. Pleasure to meet you” I Respond
“Yeah, i’ve heard of you. I’m Flash, but i’m sure you already knew that.” She says
“No kidding. Anyways, There’s several bombs planted throughout the City.”
I say.
“How much time do we have?” She asks
“10 Hours. But we don’t know where they’re loc-” Before i could finish speaking, Wally cuts me off through the comlink.
“I found the location of one of them.” He says
“Make that Tw- Three, I found the location of two more” John says with excitement
“Great! Now where are they?.” I Ask
“Um, Who are you talking to?” The Flash asks.
“Oh, Sorry. My team through my comlink.” I Respond
I Hand her a comlink.
“Thanks.” She Says
“Your Welcome.” i Reply
She connects it to her helmet
“I’m sending you the locations on your gauntlets, i built in a wristwatch in it.” John Says
“Alright” i respond
My Gauntlet opens up, only to reveal a small screen showing me the locations
It was like the wristwatch that John always had accept a bit bigger
“Is that like a Apple Watch or something?” The Flash asks.
“Only WAY better.. Like WAY.” John Responds
“Bias much?” Wally Whispers to himself.
“Oh Also, it shows you how much time we have left.” John Adds
“Let’s get moving.” I Say
“Yep, I’m Kinda known for that” Flash Replies
“Wait Wait, Just than i can get this done in a Flash, Can i get the locations?” She Adds.
“Yeah umm, Not sure how but..” i say
“I Can memorize things faster than you can blink..” She says
I Tell her the locations
“Alright. i’m not sure how you’ll keep up. Time is Ticking, Gotta Run!” She says
As she runs off, i get back into the truck. The truck was on autopilot.
I Got to the first location, another abandoned warehouse.
“What is it with people and abandoned warehouses?” I Say as i enter
“You’ll get used to it” The Flash replies
“Ok, i got eyes on the first bomb.” She says
She walks towards the bomb.
“Don’t let the size fool you”
Wally informed Flash.
As i walked into the location i was at, i heard footsteps.
“I’m at the second location, i think there’s someone here.” I Whisper
As i slowly move to the other box of crates, The man catches me.
“Stop right there, Aquaman.” He says in a deepish voice.
“Who are you?” I Ask
“My name is Admiral Storm. The Man Behind everything” He Says
“We’re gonna stop you, You know that, right?” I say
He then chuckles.
“Ah yes, Because the “Heroes” Always win. Well i’m not your practical villain. I Work with many. For instance, Your Brother, Black Manta. All of them, Work with me. I’m the kind of villain that wins.” He Says
“What’s going on there?” The Flash asks through the comlink.
“I’ve got it under control.” I Whisper into the Comlink.
“Oh who’s that You’re talking to? Is it one of you ‘Super Friends’” He says sarcastically
He then chuckles.
“You Think they’ll help you?” He Says
“Have you ever heard the metaphor ‘Curiosity killed the Cat’? Well in this case, You’re the cat”
He Says.
I Stand there silent, trying to think of a plan
As i gesture to grabbing my trident, The Flash Speeds Through.
“What a pleasant surprise. The Red Racer herself” He says
She runs straight at him.
She grabs him by the neck
“I don’t think i have to say this twice. Unarm the bombs, or you’re gonna have a really long and painful night!”
He Then starts to laugh
“Don’t you know? THERE IS NO STOPPING THEM! THERE BLOWING UP NO MATTER WHAT. YOU CAN’T STOP THEM!” He yells
He then proceeds to laugh.
She drops him on the ground
“N-No..NO!” I Say with fear and anger
I Then grab my trident and walk towards the man.
I Yell into his face.
“You’re gonna do whatever it takes to disarm them..”
I pull out my small dagger and stab him in the shoulder
“...Or You’re a deadman!”
He screams for a split second
Then pulls something out of his pocket. It was a red button.
He clicks it and the bomb starts to tick faster
He then starts to laugh
“NO! What have you done! N-NO!” I Yell with anger
I then stab the man straight in the stomach, killing him
“You’re gonna die..You’ll never win.” he said before he lost his last breath
He then drops to the floor.
“There’s not enough time. It’s gonna blow in minutes..” John says with fear and sadness in his voice
The time was ticking. It was a matter of minutes until they blew up.
“There gonna blow. We can’t do anything..” John says with fear in his voice
“No, I’ve got an idea.” Flash says
She grabs the bomb and starts to run. She was running at incredible speeds.
She Kept running to the ocean. Until she was far enough. She threw it in the air.
“We’ve still go two more. 60 seconds on each of them!” Wally says
“There’s not enough time!” I Yell
“You kidding? There’s a reason they call me the Fastest human alive.” She says
She then runs to the second bomb. In a matter of seconds it was blown up in the air
The Final bomb was the one i was at.
Flash was dealing with the other one. But the one i was at was the one that could practically blow the whole city up.
It was up to me to do something
“There’s 30 seconds for the 3rd and final bomb!” Wally says.
“Arthur it’s up to you, Flash is still dealing with the other one” John Says
I then remember the stuff my mother taught me about my powers
I remember the hardest one i could never figure out. Then i try it
I Use all of my energy in my body and my father’s trident
My eye’s turn fully blue as i make a force field of water around the bomb.
But it wasn’t ordinary water, The techniques that my mother taught me in were magic, atlantean magic. The Bomb goes of and the force field worked, well partially worked..
The impact was very dangerous and blew up the warehouse i was in.
I Was knocked out unconscious.
“It worked!” John says happily
The Flash runs to the location to find me unconscious on the ground
“No..”
She grabs me and takes me back to John’s house
“Help him! Quickly!” She says.
John pulls out a advanced First-Aid kit
And stitched me up.
There were several very dangerous wounds
----------------------
15 minutes later.
----------------------
I woke up on John’s guest bed that i was currently occupying
John and Wally told me i would be fine, i just need rest.
“I Have to get going, it was a pleasure meeting you guys.” Flash Says
“Same for me.” Wally comments
“Thank you. Both of you, i couldn’t thank you more” i say
“Anytime.” Wally and The Flash say in unison
John says his goodbyes
Then walks into my room
“Hey dude, Need anything?” He asks
“No. Thank you John. Thank you for everything.” I Reply
“No problemo dude.” He says
His face then changes from a smile to a concerned face
“What’s wrong dude?” He asks
“N-Nothing, It’s just, i killed the man, Y’know Admiral Storm, For no reason. And i’m starting to think if i’ll be consumed by the evil just like my brother. What if i turn worse than my brother? What if the Evil consumes me?” I Say
“Hey man, if there’s anything i learned from being your friend, is that no matter what, You’ll always do good. And you don’t let anything stop you. Look don’t get me wrong, anythings possible in this world, i mean there’s a freaking flying dude and a shrinking guy, Fire guy too.
Look my point is, no matter what, You’ll always be Aquaman. Don’t look at this as a bad thing, look at that as a sign telling you that there’s room for improvement” He responds
“Get some rest, You need it” John says before he walks out the room
“Hey John.” i tell him before he exits the room
“Yeah?” he says
“Thank you man.”
He smiles.
“No problem dude.” He Says as he walks out.
As the lights turn off, i fall asleep.
As i feel asleep, i thought of my mother. About all she taught me, She was there when i needed her.
A tear ran down my face as I fell asleep.
I saw my mother and father standing with me.
Hugging me. Always being there for me.
Always.
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9:00, San Francisco - John's House
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John's perspective
------------------------
As I woke up and made myself breakfast the doorbell rings.
I look through the eyehole and see it's the girl that served us at CC Jitters.
I open the door.
“Hi, is uh Arthur there?”
I look at her with a confused face.
“Yeah uh, Yeah he’ll be right out.”
I Walk into Arthur’s room and wake him up
“*Groans* Wh-What happened?” He says tired
“Tuna is here to see you, don’t know why.” I Reply
“What who’s Tuna? You mean Tula?” He Asks
“Yeah whatever. Get up” I Say
“Alright Alright i’m coming..” He Says Tired
Looks like it’s Arthur’s Lucky day.
_____________________________________________
OH LORD IT’S SO LONG.
Hope you enjoyed
Comment and Favorites are appreciated
If you favorite, please consider commenting.
Also, Sorry about the lack of customs. Hopefully i’ll have more customs out soon.
Anyways, Hope you sticked to the very end!
And Don’t worry, all my issues won’t be this long. (UNLESS YOU LIKE IT LIKE THAT!)
See Ya!
Wonderful cloud formations as we proceeded into Nevada looking for an open pass over the sierras.
Chosen for Explore 9 December 2014!
Some ten years ago, Trenitalia proceeded to an alteration of its single-voltage high-speed fleet: the 3000V DC-only ETR 500 trains (there are also dual-voltage ETR 500 trains, which are newer and have a different frontal design) were taken apart, whereby the coaches were coupled with new dual-voltage motor cars (class E404.6) to continue life as ETR 500, and the motor cars (class E404.1) were refurbished and transformed into class E414, to be coupled with conventional rolling stock (coaches of types Gran Comfort, Eurofima and UIC-Z1). These latter trains - now limited to 200 km/h due to the coaches, whereas the motor cars had been running at 250 km/h in their years as ETR 500 trains - were at first labeled "EuroStarCity" in the timetables, but soon renamed "Frecciabianca" - with the appropriate livery, of course. Here, such a consist is covering Frecciabianca no. 9733 from Torino Porta Nuova to Venezia Santa Lucia (with 10 stops along the way), having just left Novara station, 12-08-2016.
Ok, I am sorry for what's to come. warning: explicit mental imagery and narration coming, proceed at your peril. Better do not proceed at all. OK I think I made myself clear.
Now then. I was driving back from work and saw the most beautiful sail boat, I figured I might be able to catch a shot of it from Okahu Bay wharf, which is the handsomest wharf in auckland by far and probably the handsomest I know full stop. I rush along the wharf only to see the boat tacking , yes I thought I'd through in this sailing term I learned from watching America's Cup, and moving away from me, the chance for a shot missed. On my way I catch this shot. Some might say "this is cute". Some might say "poor fish". I am on the fence at this point, probably leaning towards "this is cute" camp. You know innocence and curiosity of childhood and stuff.
I walk along the wharf to its tip and look around and take a few shots and when coming back I , naturally, cast a look at what's the boy is up to and if the fish is still there. It is. The boy is sitting in same pose holding fish (dead I hasten to clarify) in his hand and sharp something in his other hand and gouging fish's eye with his tool.
I warned you, You didn't listen did ya?
The Gettysburg Branch is proceeded by a high rail. Both pause at Oneida. (I just couldn't get the color quite right here but you get the idea.)
on black . . . Via Fluidr . . . (then click on image to view details LARGE) . . . bigger is better!!!
The difficulties you meet will resolve themselves as you advance. Proceed, and light will dawn, and shine with increasing clearness on your path. ~ Jim Rohn